On This Day in 1972: Cat Stevens Claims No. 1 on the U.S. Album Chart for Three Weeks with a Release Inspired by Zen Teachings
Photo by Penni Gladstone, Los Angeles Times, CC BY 4.0, via Wikimedia Commons
A Chart-Topping Moment and Its Meaning
On November 18, 1972, Cat Stevens began a three-week run at No. 1 on the U.S. album chart with Catch Bull at Four. As noted in a contemporary description, “Cat Stevens started a three-week run at No.1 on the US album chart with ‘Catch Bull At Four’. The title was taken from one of the Ten Bulls of Zen a series of short poems and accompanying pictures that are intended to illustrate the stages of a Buddhist practitioner’s progression towards enlightenment.”
The album’s name, taken from one poem in the Ten Bulls sequence, reflected Stevens’ growing interest in spiritual ideas. The set stayed at the top of the Billboard chart thanks to its mix of thoughtful lyrics and inventive musical choices, which marked a clear step forward from his earlier sound.
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A New Phase in Cat Stevens’ Artistic Growth
Many critics noted how the record expanded on the stripped-down feel of his previous releases. They praised the direct tone of the songwriting and the introduction of broader instrumental layers, including selective use of synthesizers. This approach led many observers to describe Catch Bull at Four as his most mature work at the time.
Stevens’ interest in deeper meaning came through in several songs. His focus on personal discipline and self-reflection mirrored the themes found in Kuòān Shīyuǎn’s Ten Bulls series, which influenced the album’s concept. The bull in these poems represents the true self, and the fourth stage—Catching the Bull—symbolizes a difficult but important step that requires effort and patience.
Recording the Album and Finding Its Voice
The album entered the UK chart on October 7, 1972, shortly after starring in a strong run the previous year with Teaser and the Firecat. Stevens again worked with producer Paul Samwell-Smith, recording at The Manor Studio in Oxfordshire and the Château d’Hérouville in France. His near-fatal illness earlier in his career had pushed him toward deeper thought, and this influence resurfaced in songs such as “Sitting,” which referenced meditation while still fitting into a pop framework. The track reached the U.S. Top 20.
Stevens played many of the instruments himself, adding textures that ranged from stringed instruments to drums and percussion. Other memorable moments appear in “O Caritas,” sung partially in Greek and Latin, and “Sweet Scarlet,” written for Carly Simon.
Critical Response and Commercial Impact
Rolling Stone critic Stephen Holden described the album as “impeccably produced,” noting its “simple, short-phrased melodies and spare and vibrant arrangements.” He added that the wider instrumental palette made it “a definite relaxation from the rigorous simplicity of Teaser.”
The album later reached No. 2 in the UK, but in the U.S., Catch Bull at Four achieved what its predecessor had narrowly missed: a climb to No. 1, holding the top spot for three weeks and confirming Stevens’ remarkable run in 1972.
